Preservation Hall Jazz Band and Tower of Power funk up the Bowl

It was a brassy night at the Bowl last Wednesday when Preservation Hall Jazz Band brought their signature jazz stylings to the stage, followed by the equally boisterous Tower of Power. It was a “New Orleans meets Oakland” double bill at the Hollywood Bowl.

Joking that L.A. was their second home, the Preservation Hall Jazz Band did seem at home on the famed Bowl stage, having performed there three times over the past two decades as a featured band. Previous appearances were as part of the lineup of the Hollywood Bowl Jazz Festival alongside other jazz artists in 2013 and 2016.

The Preservation Hall Jazz Band lineup include Walter Harris (drums/percussion), Charlie Gabriel (clarinet/saxophone), Ben Jaffe (tuba/bass and creative director), Branden Lewis (trumpet), Ronell Johnson (tuba/trombone), Clint Maedgen (saxophone) and pianist Kyle Roussel. Roussel’s contribution was especially evident during the band’s more intimate passages, where his touch added warmth and sophistication without diminishing the raw energy of the brass ensemble. He helped connect the music’s historical roots to its contemporary performance style, honoring the piano traditions of New Orleans while supporting the younger generation of musicians carrying the Preservation Hall legacy forward.

Preservation Hall Jazz Band transformed the Hollywood Bowl into something resembling a summer evening in the French Quarter. The pairing made musical sense: New Orleans tradition followed by Oakland funk, each rooted in ensemble playing, deep grooves, and joyful audience participation.

Preservation Hall played with the urgency and easy exuberance that has defined the ensemble for more than six decades. Their hallmark blend of collective improvisation, brass fanfares, and gospel-inflected vocals filled the Bowl’s vast acoustic shell and venue.

The evening’s defining moment came during the traditional ‘second line.’ In a quintessential New Orleans gesture, members of the band left the stage and wound their way towards the audience, not parading down the aisles but snaking around the Bowl’s pool area catwalk, with concertgoers urged to clap, dance, and celebrate their enthusiasm.

What Preservation Hall Jazz Band does better than almost anyone else is presenting jazz as living social music. The performance was celebratory, emphasizing rhythm, collective swing, and audience connection. The band’s anticipated rendition of the Traditional New Orleans standard “When the Saints Go Marching In” delivered a gospel hymn of hope that’s also one of jazz’s most enduring anthems. Built on collective improvisation, buoyant brass, and infectious rhythms, it celebrated the communal spirit that lies at the heart of New Orleans music.

If Preservation Hall Jazz Band brought the streets of New Orleans to the Hollywood Bowl, Tower of Power turned the iconic amphitheater into Oakland’s biggest dance floor. Led by energetic lead singer Jordan John, the vibe was funky and energetic from the get go and never let up.

For more than five decades, Tower of Power has built its reputation on precision: razor-sharp horn lines, an impossibly tight rhythm section, and songs that lock into a groove so completely they seem to suspend time. At the Hollywood Bowl, that formula remained gloriously intact, fueled by funky momentum.

From the opening number, Emilio Castillo’s horn arrangements reminded everyone why Tower of Power remains the gold standard for funk ensembles. The musicians played with the relaxed confidence that comes only from decades on stage together, creating a pocket so deep that much of the audience spent the evening on its feet.

The set balanced radio favorites with extended instrumental workouts, giving every section of the band an opportunity to shine. The audience responded enthusiastically to classics such as “So Very Hard to Go,” “What Is Hip?,” and “You’re Still a Young Man,” to name a few of the numbers.

Jordan John could easily have been overshadowed by Tower of Power’s legendary horn section, but instead he became one of the evening’s focal points. Possessing a supple tenor that moves effortlessly from silky ballad phrasing to gritty soul shouts, he approached the band’s classic repertoire with confidence. Rather than trying to recreate the vocal signatures of predecessors such as Lenny Williams or Larry Braggs, John brought his own contemporary R&B and gospel sensibility to the music, delivering familiar songs with fresh energy while honoring their original spirit.

Just as impressive was John’s rapport with the audience. He moved comfortably across the stage, encouraging singalongs, trading playful exchanges with the horn section, and serving as the charismatic bridge between the musicians and the crowd.

A fun night was had by all!